Israeli-born choreographer Emanuel Gat takes on ‘The Well-Tempered Clavier’ in a new, evening-length work.
The Israeli choreographer Emanuel Gat has a theory about artistic creativity. Basically, there are two types of artists: one has a fairly clear vision of the work he wants to create before he begins, while the other has no idea at all. Instead, this latter type only uncovers something that already existed; he is merely a midwife, or as Gat puts it, a sort of scientist discovering hidden laws of nature that have existed all along.
Jewish and Dominican teens forming bonds over the Sosúa story.
Four years ago, Victoria Neznansky was faced with a difficult task. She was the newly hired chief program officer at the YM & YWHA in Washington Heights, which serves a predominantly Dominican community. And it was her responsibility to find a way to attract families from the area’s Jewish population, which had been dwindling for decades — all without alienating the dominant population.
Ohad Naharin’s relationship with the Alvin Ailey company goes back years. Now he’s helping the troupe’s new director ‘take the next step into the future.’
In the 1970s, Ohad Naharin’s career as a dancer in Israel was just taking off when he left for America to be with his wife. Naharin was, at the time, one of Batsheva’s most promising dancers, doted on by Martha Graham, the iconic American choreographer who helped train many performers in the budding Israeli company. But then he met Mari Kajiwara, an American dancer with the Alvin Ailey company.
Playwright Alfred Uhry and choreographer Martha Clarke explore the devoutly Christian group in ‘Angel Reapers.’
These days, a musical about a community where all members gather in the nude to sing and dance wouldn’t seem all that strange. After all, “Hair” has been around for decades.
But if you heard that this community was devoutly Christian, took vows of celibacy, and actually flourished nearly 200 years ago, you might raise an eyebrow. Perhaps you’d raise the other one if you heard that both the creators of this show were Jews.
Acclaimed young choreographer Avi Scher has had to balance the rigors of ballet and of Orthodox Judaism. It hasn’t been easy.
When Avi Scher was accepted to the School of American Ballet almost two decades ago, when he was 10, he and his family faced a stark choice: they could stay in Israel with their tight-knit Orthodox community, where Scher was already training with one of the country’s prestigious ballet companies.
In ‘Tides,’ an avant-garde troupe fuses dance, theater and a country’s tragic history.
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It seems fitting that a German ensemble would stage a work keenly evoking terror, displacement and survival amid catastrophe. Next week the Brooklyn Academy of Music’s Next Wave Festival will host “Gezeiten” (the aptly titled “Tides” in German), a dance theater performance choreographed by the likewise appropriately named Sasha Waltz.
Israeli ex-pat choreographer Hofesh Shechter’s new piece for the Cedar Lake ballet may or may not have anything to do with shtetl life.
When the Israeli choreographer Hofesh Shechter moved to London in 2002, he thought he could leave his past behind. But no luck: “In the back of the mind of the audience, they know I’m Israeli,” Shechter said in a recent interview. “I feel that this is how people look at me.”
Collaboration with Pilobolus has famed illustrator working — in his own dimension — with live dancers.
About a year ago, Pilobolus, the renowned dance troupe that arrives at New York’s Joyce Theater next week, contacted Art Spiegelman, the Pulitzer Prize-winning cartoonist of the Holocaust-themed book “Maus.” The troupe’s members wanted Spiegelman to make a dance with them, and were even willing to give him creative carte-blanche. No questions asked.